Vault yields some forgotten gems

BOLET: LISZT - Liebestraum No. 3, Gnomenreigen, Un Sospiro, Funerailles, La campanella, Waldesrauschen, Grand galop chromatique, Rhapsodie espagnole; WAGNER-LISZT: Tannhauser Overture. Jorge Bolet, piano. RCA Red Seal 63748; digitally remastered.

Between Aug. 21 and 24, 1972, the brilliant Cuban-born American pianist Jorge Bolet sat at the piano in RCA Studio A in New York to record works of Franz Liszt.

The recordings were set aside, awaiting the pianist`s return to make additional Liszt recordings so that a multi-LP set could be issued. Bolet never completed recording the set.

Jon M. Samuels, in accompanying notes with this disc, writes: "These tapes lay forgotten in the RCA vaults gathering dust, with nary a paper trail, until about a year ago, when I found them inadvertently."

A most fortuitous find.

Bolet (1914-1990), was a virtuosic powerhouse and was particularly noted as an interpreter of Liszt; but not always completely accepted by listeners who were of a purist bent. The pianist sometimes took liberties with the way the composer had written his works. He, himself, said:

"The Lisztian style is very special - you can`t play Liszt the way you play Chopin, Schumann, Brahms or anybody else. Liszt`s music lends itself to a great deal of freedom, even in making alterations in the actual notes written."

And he added, "I have a strong feeling that if Liszt heard me do things like that, he wouldn`t disapprove." And again, "... we must respect and be devoted to the composers whose music we play."

I`ll let you figure that one out. And if you get stuck on it, you might remember that Liszt, too, supposedly often took liberties with the works he played of other composers.

Today, for our own listening enjoyment, we can say that Bolet plays thrilling, brilliant Liszt. He was of the class of pianists who played with a strong romantic flair. And that certainly fits well with the composer`s own style of dramatic writing.

As for the first eight recordings on this disc, they are played in a brilliant manner and make an excellent Liszt program.

I say the first eight recordings, because the story is entirely different with the ninth, the Wagner-Liszt Tannhauser Overture.

On July 16, 1973, Bolet was again at RCA Studio A, this time to record Rachmaninoff`s transcription of the scherzo from Mendelssohn`s Midsummer Night`s Dream. It seems he decided to do a run-through of the Tannhauser before he left the studio, perhaps to see where he was with it at that point and how much work he might have to put into the making of a commercial recording. At any rate, the recording engineers taped the run-trough.

I think it is unfortunate that RCA decided to release that run-through as a commercial product. It obviously is not a commercial product. We hear the pianist feeling his way through the work. Listen to the erratic changes in tempo, for example, when he comes to parts in which he seems to be less sure of himself - as though he was simply letting his fingers become familiar with the passages.

There are many errors in his playing, which is unfortunate only if we see this recording as a work that was to be released on the commercial market. There is nothing wrong with it as a practice endeavor.

Oh, there are sections of brilliance in this recording, but only in certain passages. And, in a run-through, that is all we should expect.

This recording, too, was consigned to the RCA vaults - and then forgotten for almost three decades.

In my judgment, it would have been better to leave it there.

This in no way reflects on the other Liszt recordings on this disc. They are splendid, and they make a valuable addition to the Bolet discography.

My favorites of the eight recordings? The opening and the closing works, Liebestraum and Rhapsodie espagnole. Bolet makes his reading of the popular Liebestraum glisten and sparkle like some gleaming display of keyboard pyrotechnics falling down from the heavens.

Yes, I know, all piano students play Liebestraum - but neither they nor many professionals play it in such a dazzling manner. As for Rhapsodie espagnole, here is the romantic Bolet playing the romantic Liszt with all stops out.

BRIDGE: Chamber Concerto Piano and Strings, Four Pieces for String Orchestra, Three Idylls. Carol Rosenberger, piano; Moscow Chamber Orchestra; Constantine Orbelian, conductor. Delos 3263.

Is this the music of Frank Bridge?

The answer is yes - and no.

Each of the works on this disc is an arrangement of an original work by the composer. Nothing unusual about that practice. It`s been done forever. Still, as we listen, it is wise to understand that we are listening to things that have been changed from the composer`s original pieces.

Chamber Concerto for Piano and Strings is an arrangement of Bridge`s Quintet, 1912, made by Constantine Orbelian, conductor of the Moscow Chamber Orchestra.

Four Pieces for String Orchestra is an arrangement of four different pieces that retain their original titles: Prelude Moderato in E Minor, Valse-Intermezzo, Song Without Words (Andante) and Scherzo Phantastic in E Minor, made here into an arrangement for string orchestra by Paul Hindmarsh. Hindmarsh also wrote the notes that accompany the disc, and we will learn more about the composer from having read them.

Three Idylls is an arrangement by Lucas Drew of one of the composers strings quartets. Drew added a double bass to the quartet making it readily adaptable to string orchestra.

I believe these arrangements can do much to encourage chamber orchestras to play Bridge. Their adaptations from the composer`s originals have been made entirely within limits that in no way prevent us from recognizing that what we hear is the basic inspiration and creation of the composer. As for arrangements as an art form in itself, I have always looked upon such a practice as high compliment to the original composers.

Frank Bridge (1879-1941) was a distinguished English composer who wrote prolifically in a variety of forms. He was in no way influenced in his writing by the Second Vienna School and its attendant serialism.

Quite the opposite. Perhaps his music might best be described as expressions of graceful elegance, works that teemed with melodic invention, generally quiet and, we might say, in keeping with the work of so many English composers of that period.

This is a good production, and hopefully it will bring new listeners to the music of Frank Bridge, a composer whose works are not all that popular in the United States.

Orbelian and the excellent Moscow Chamber Orchestra play these splendid arrangements to perfection. Pianist Carol Rosenberger adds his own sensitive playing to the work for piano and orchestra through the eloquence of his technique.

(c) Copley News Service

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Author: King Durkee